S Título C Amor From Me To U Adriano Costa
Past exhibition
Overview
Adriano Costa is multiple. There are many Adrianos Costas inside Adriano Costa. I mean how the work of Adriano appears in the world. I feel like saying it is anarchic, but that would be imprecise. The anarchy lies on appearance. This is the wrong impression I get from Adriano’s work. The piece is framed by architecture. There is a clear and pragmatic limit. Adriano is external to it. This is the constructivist Adriano. Oh! Sweet constructivists, we love you. Fingers up!
Adriano is external to himself, since the form of the flannel suggests the place where it (he) is: architecture, the gallery, the expert and curious visitors, and, of course, being there only as the draft of a branch on the wall. The form of the flannel itself suggests the color. It is orange! The internal Adriano, in this intimate conversation with his objects, like a relationship discussion, forms the plastic and the humor. Like a punk band that rebels against everything but is actually only having fun, the pieces of Adrianos Costas are filled with irony and pleasure. The platonic and the physical love are exposed in the title of the exhibition: s título c amor from me to u.
Contrary to specific media, the pieces of Adriano can appear in several forms and configurations, and they can specially be materialized from anything that exists. Adriano’s apparently anarchic freedom sucks the objects and the aesthetic footprints that Adrianos find out there. Instead of being pre-conceived, the work is defined in the present. It is the catch of the happy game with the facts that are presented. As if Adriano asked, OK, I can do it, but what are the limitations? As the movie maker Claudio Assis would say – take it and receive it. The erotic of Adriano’s work is in this friendly exchange.
That is the reason for the lines on the wall. They are fingers drawing small children’s paintings of love. With heart, temple, floors and many fingers on the wall. No more comments.
– Ricardo Sardenberg
Adriano is external to himself, since the form of the flannel suggests the place where it (he) is: architecture, the gallery, the expert and curious visitors, and, of course, being there only as the draft of a branch on the wall. The form of the flannel itself suggests the color. It is orange! The internal Adriano, in this intimate conversation with his objects, like a relationship discussion, forms the plastic and the humor. Like a punk band that rebels against everything but is actually only having fun, the pieces of Adrianos Costas are filled with irony and pleasure. The platonic and the physical love are exposed in the title of the exhibition: s título c amor from me to u.
Contrary to specific media, the pieces of Adriano can appear in several forms and configurations, and they can specially be materialized from anything that exists. Adriano’s apparently anarchic freedom sucks the objects and the aesthetic footprints that Adrianos find out there. Instead of being pre-conceived, the work is defined in the present. It is the catch of the happy game with the facts that are presented. As if Adriano asked, OK, I can do it, but what are the limitations? As the movie maker Claudio Assis would say – take it and receive it. The erotic of Adriano’s work is in this friendly exchange.
That is the reason for the lines on the wall. They are fingers drawing small children’s paintings of love. With heart, temple, floors and many fingers on the wall. No more comments.
– Ricardo Sardenberg
Works
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Adriano Costa, A caça ao pato é um esporte muito apreciado na Europa, 2014 -
Adriano Costa, Above, 2014
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Adriano Costa, Cobra grande/Zara, 2014
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Adriano Costa, Cobra pequena, 2014
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Adriano Costa, Fermentação, 2014
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Adriano Costa, Flauta doce, 2014
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Adriano Costa, Grávida, 2014
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Adriano Costa, Ilha, 2014
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Adriano Costa, Jangada, 2014
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Adriano Costa, O.V.O., 2014
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Adriano Costa, Wish, 2014
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Adriano Costa, pagode jardim japão, 2014
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Adriano Costa, Norwegian Cheese/São Paulo, 2014
Installation Views
